The downtime between deaths has never been duller, and the Rube Goldberg-type death scenes are so poorly staged that it's difficult to figure out what's about to happen and to whom.

It's somewhat more energetic than the previous year's Breaking Training, and the Japanese locations are a plus, but so much silliness has been substituted for the solid situations and characterizations of the original that it's hard to believe the same people had anything to do with both pictures.

Very possibly the most ruthlessly irritating comedy since the dreaded "S.F.W." attempted to put its finger on the pulse of young America, and that's saying something.

The best thing about it is the cast. Baldwin's moronic Barney is an acquired taste, but Krakowski is an adorable, sassy Betty, and Johnston brings an endearing coltishness to the sensible Wilma.

Frankly, the film's nostalgia for the "coffee, tea or me?" era of flying, when stewardesses were fantasy figures in soaring heels and uniforms tailored for bust enhancement rather than utility, is retro in all the wrong ways.

Cloying, immature and relentlessly cute, this grating British comedy about two London con men is every bit as shameless as its heroes.

The individual stories are so truncated that they can't do much in the way of giving their characters real emotional depth.

This vapid, mean-spirited comedy is Lopez's show, and though she is utterly unconvincing as a paragon of down-to-earth virtues, the last laugh was hers from the outset.

The less you demand of this bloody, by-the-numbers sequel, the more you'll enjoy it.

One hundred and nine minutes of drama and not a single moment rings true.

The script, by co-writers and -directors Douglas McGrath and Peter Askin, is intermittently clever, but their direction is leaden and assassinates every gag with a lethal accuracy the CIA could only hope to achieve.

The film seems longer than its 93-minute running time, but kids will probably enjoy its potty humor, many scenes of 4-year-olds getting the better of harried adults and the inevitable moment when a cute little girl kicks the fat guy in the nads.

There's some fun to be had in seeing two of TV's resident sweetie pies, Campbell and ER's Noah Wyle, play unrepentant sons of bitches, but it's not enough.

Steve and Doug's story just isn't funny, and it would take far better writing than Kattan, Ferrell and Steve Koren can muster to make it less than an ordeal.

A misconceived roundelay that crosses the thin line dividing gross-but-funny from just plain gross.

A film that takes such sadistic delight in the thorough humiliation of its heroine.

Let's be blunt: Bass can't really act.

An extremely loud and simpleminded cross between TV's "WWF Smackdown!" and "Dumb and Dumber."

Scenes are woefully under-rehearsed, and much of the obviously improvised dialogue would seem entirely random if it weren't so repetitive.

This lame bid at a thriller is hobbled by a plodding pace and a slipshod script.

Vonnegut's brand of juvenile surrealism...doesn't age especially well...but it could hardly be worse served than to be brought to the screen with such ham-fisted literal-mindedness.

Even the snowboarding scenes that might have been the visceral heart of this thing are cut in such a way that we never get more than a few seconds of full-frame athletic skill; despite the real-life snowboarders doing the stunt work (including Rob "Sluggo" Boyce, Tara Dakides and Javas Lehn), it all looks like editing-room cheats.

Despite its provocative premise, this throwback to deliberately paced, low-tech chillers of the pre-CGI era is a dreary slog through haunted-child movie cliches -- portentous dreams, glassy-eyed stares, cryptic pronouncements.

Salma Hayek steals the awkwardly formulaic, cliche-ridden show right out from under him (Perry).

If it weren't all so cluelessly sleazy it might be funny.

Williams isn't really playing Adams: He's once again playing himself, and the act is getting tired.

Unfortunately, the mystery isn't mysterious and the characters are caricatures; the wintery New England landscape is the most striking thing about the film, but it's not interesting enough to justify watching it for 100 minutes.

Sitting through this charmless romantic comedy is like going to a restaurant and being seated next to a drunken couple who argue throughout dinner: It's messy, embarrassing and absolutely none of your business, but there's no escape.